The Master

Two things can be said with certainty about Paul Thomas Anderson’s latest film, The Master. First, Anderson definitely knows his way around a camera; second, Joaquin Phoenix emphatically knows his way around appearing ‘disturbed.’ Both of these elements are used to their absolute potential in order to challenge and entice the audience to look a little closer at this film than, perhaps, Anderson has asked in the past.

The Master is Anderson’s sixth stop on his cinematic journey through American culture and it may be his most polarizing one to date. Director, Anderson has mesmerized audiences with triumphantly engaging dissections of American culture in films like Boogie Nights, Magnolia, and of course 2007’s There Will Be Blood. The Master returns Anderson to his role as writer along with being director after his singular exception, adapting Upton Sinclair’s Oil! into There Will Be Blood. This time Anderson takes an isolated and cold look at specific segment of post-World War II 1950s America. Phoenix plays Freddie Quell, a Naval veteran who struggles with alcoholism, anger issues, and repressed memories of a troubled upbringing which partially manifest in unhealthy sexual obsessions. After the war, Quell finds himself in a series of odd-jobs that he is in no way suited for, including one that results in his being chased off after one of his “home-made” alcoholic concoctions seemingly brings about the death, or near death, of one of his co-workers. It is here that Quell finds himself a stow-away on a yacht commanded by a charming, yet nefarious character by the name of Lancaster Dodd, played by Philip Seymour Hoffman (who stars in four of Anderson’s six films). Dodd is at sea to officiate and celebrate the wedding of his daughter, but upon the discovery of Quell his interests turn to him and his story. Dodd’s compassion for Quell unveils to reveal his role as leader of a cultest group known as The Cause. Dodd uses his wit, intellect, and charm to pray on the affluent, which in turn results in additional wealth, appreciation, and power for him and his group. He is quick to accept compliments, but resorts to shouting down and conceivably condoning violence against his critics. Quell, who has been wrestling with his uncertain future, is easily drawn in by their hypnotizing appeal.

What follows is a slow-burn of a drama that gains all of its leisurely paced momentum from the conflicts that arise between Quell and Dodd. It is also a challenging film for the viewer. It is a cinematic puzzle on par with enigmatic films like Terrence Malick’s The Tree of Life in 2011. We are forced to pay close attention as we constantly question a look, a question, or an action in an ongoing battle to understand these characters’ true motivations. A follow-up to There Will Be Blood, it is hard to ignore the similarities between Blood’s Daniel Plainview and Master’s Lancaster Dodd; the names are iconically memorable for starters. Furthermore, Dodd’s methodical and meticulous effort to distort and corrupt the psyche of Quell in order to vindicate or authenticate himself certainly rings a bell.

The Master is not an easy film to understand, nor is it an easy film to watch given its 140 minute running time. What it is, is a beautifully acted and orchestrated character analysis filmed on 65 mm film stock. Anderson takes endless risks here and while the film drags, his criticisms on some of the supposed motivations of those who promise answers, faith, or comfort do stay with you after the credits role. C+